A Twist of Fate S
by Rhea's Teleplays
Summary: Greg must uncover the identity of corpse tarred and feathered. Langston investigates a 'soap mummy' found in a well. When Nick discovers his victim was buried alive in the same manner he had been, he snaps, and is obessesed with catching the killer.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

A Twist of Fate

TEASER

FADE IN:

EXT. LAS VEGAS (STOCK) - NIGHT

To establish.

I/E. CSI VEHICLE - NIGHT

**GREG** pulls to a stop outside Thrifty Storage. **BRASS** is waiting at the door with a grin of ornery pleasure.

Nearby, a uniformed officer is speaking to a nerdy looking middle-aged man and his mom.

The CSI grabs his kit and gets out.

INT. THRIFTY STORAGE - NIGHT

GREG  
What? Just tell me. What is it?

Brass isn't going to ruin his fun so soon.

BRASS  
The storage manager and his mom  
called it in.

Brass motions at the man and woman. Brass and Greg head inside. Down the hall a uniformed officer stands guard outside an open unit door.

BRASS (CONT'D)  
The nerd back there was going to  
rent out this unit tonight. He and  
the would-be-renter came in, he  
opened the door, and found the body.  
He thought the smell was coming  
from one of the other units, so  
imagine his surprise.

The two stop and Greg stares. Inside the unit is a body sitting in a chair and covered with a shiny, black substance and feathers.

GREG  
(to himself)  
Do dishes. Vacuum. Remove Catherine  
and Brass from my Christmas card list.

Greg sets his kit down and pulls a pair of gloves from his pants pocket. He looks at Brass -- who is smiling like a giddy child.

GREG  
You're enjoying this far too much.

BRASS  
I have to find amusement where I  
can. You always seem to provide me  
with an ample supply.

Greg is not amused. He walks into the unit, cautiously approaching the body. He reaches out and pokes the body.

The black substance sticks to his finger. He pulls it back and the black stuff clings to the latex. The further he pulls back, the longer the string gets. He shakes his hand and the string bounces with the movement.

GREG  
UGH!

Frustrated he rips off his gloves and tosses them at the body. Greg backs into the hall with Brass and the officer, both now watching him with amused grins.

BRASS  
So, Ace, how are you gonna tackle  
this one?

Greg has no idea.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. MOJAVE DESERT - NIGHT

To establish. The moon is full, bathing the parched land in silver light.

EXT. PAINTED DESERT NURSERY - NIGHT

Not much stirs in the groves of the nursery, save one lone figure. Lupe Perez walks among the trees. He's wearing a backpack sprayer and sings an old song from his homeland of Chile. He stops at a tree and stops the sprayer.

Lupe pulls a flashlight off his belt and shines it on the bark. The tree has been damaged from something. He touches it, muttering in Spanish. He stops talking. He can hear a noise, like a million gnashing teeth. Lupe shines his light in the direction of the sound. The ground looks like it's breathing.

Lupe slowly walks toward it. He trips over a PVC pipe and shines his light on it. He reaches down, picking up the nine foot long pipe. He drops it suddenly, jumping and aiming his light on the ground. His eyes widen when he sees he's standing in a sea of fire ants.

Lupe panics and runs toward the desert, smacking the ants crawling up his body. He trips and falls, rolls, gets up and runs screaming into the desert.

SMASH TO WHITE:

EXT. PAINTED DESERT NURSERY - LATER

A Hazmat team is near an open grave, spraying a crude coffin.

Clutching a camera in one hand and his kit in the other, **NICK** stands at the edge of a grave staring into it. The bottom is alive with fire ants. The sight stirs buried emotions in Nick.

**CATHERINE** walks up to him, also staring into the grave. Behind them, Doc **ROBBINS** walks into the desert where Lupe collapsed in the throes of death. Catherine looks up at Nick.

CATHERINE  
Nick?

He looks at her.

CATHERINE (CONT'D)  
Are you sure you want this case?  
Being allergic to fire ants is a  
good enough excuse to be reassigned.

He smiles.

NICK  
It's just a few ants. I'll be fine.

She's not convinced.

CATHERINE  
Do you have Epi's?

He pats his vest pocket.

CATHERINE (CONT'D)  
Okay. Stay safe on this one, Nick.  
Don't you dare go macho on me. If you  
run into problems, call me. Got it?

NICK  
No macho, macho man. Got it.

She laughs as she heads into the desert to join Robbins.

Nick turns back to his crime scene. He sets his kit and camera down, and then walks over to a pile of soil. With the toe of his shoe he sifts through the soil a little. A few ants are still alive. Nick steps away and looks around him.

NICK (CONT'D)  
All these fire ants... And no mound...

Nick pulls his Maglight off his belt and starts a spiral search for a fire ant mound. The Hazmat team finishes clearing the coffin. One **HAZMAT GUY** turns and looks for him.

HAZMAT GUY

Hey, Nick. We've cleared the coffin  
as best we can. It's ready when you are.

Nick walks back to them.

HAZMAT GUY (CONT'D)  
There's a few still fighting, so be  
careful when you open her up. We  
put in a call for a real exterminator  
to spray the grave with more powerful stuff.

NICK  
Thanks.

The man and his team start up the hill toward their truck. Nick puts his Maglight back in the holster on his belt and starts snapping photos of the coffin and area.

**INT. MAOPA VALLEY - NIGHT (RE-ENACTMENT)**

**Ten years ago, on a moonless night, a man trots across the dark land. He's a nice looking man, in his mid thirties, and well dressed. He looks out of place to be in this remote farm area.**

**He slows as he sneaks past a freshly painted farmhouse. In the window on the second floor a young boy is sitting by the window looking up at the stars, he doesn't see the man. In the living room, the boy's parents are watching TV. **

**The man's face, later to be discovered as Edith Stuckley, flashes through the light before he disappears into the peach grove near the house. The trees are just blossoming and petals fall around him. **

**It's a dreamy sight that he stop to admire for a moment before he starts a slow jog. Beyond the grove he hears a sound and turns as he stops.**

**He can still hear it -- a low groan, almost like a person in pain. Suddenly the ground opens under his feet, dropping him into a black hole. Seconds after he disappears, there is a loud splash, but the man doesn't make a sound.**

INT. FARMER DELL'S WELL - PRESENT - DAY

There's a steady drip of water dripping into water. In the darkness of the well, the well preserved remains of the fallen man sit hunched over. In the dark, it looks like he's just fallen into the well and has been there for only a few days.

But there is no water. Dampness clings to the walls and forms little pools, but that's not enough to make a splash.

The footsteps stop and there's a loud scraping noise as the overhead cover is removed. It lets in an explosion of light and the morning sounds of a farm.

Four faces peer into the well: **LANGSTON**, assistant M.E. **DAVID**, State Patrolman Paul **SHOEMAKER**, and **FARMER DELL**.

EXT. FARMER DELL'S PEACH GROVE - DAY

The corpse at the bottom of the well doesn't look normal. From their height, it's hard to tell what makes this corpse unique. Langston lowers to one knee, shining his flashlight down the shaft.

He can tell that some of the hair has fallen out, the body looks bloated, but in an abnormal way. The skin has a strange, waxy sheen to it. One leg is bent under the man, the other sticks out. Gleaming white bone can be seen sticking from the lower half, but there's no blood around the wound or on the clothes.

To further throw things out of context, the clothes have decayed to shreds and pieces.

FARMER DELL  
I told you. I have a mummy in my well.

He pulls off his Maglight, shining it on the corpse. The light glints across the skin.

LANGSTON  
It looks like a wax statue. David,  
perhaps we had better use a  
biohazard bag for transport.

David trots off toward the coroner's van.

FARMER DELL  
Look, I don't want this taking forever.  
I want it out of my well. Now!

LANGSTON  
Sir, even after the body is moved,  
this is still considered a crime  
scene until I can prove no crime  
has been committed. I will release  
it as soon as I can

FARMER DELL  
I want my well back _now_. Can your  
nigger ears understand that?

Langston and Patrolman Shoemaker both look up at Farmer Dell. He doesn't show any remorse for his racial slur.

LANGSTON  
Yeah. I heard you!

Farmer Dell tromps off. Langston looks up at Shoemaker. He slowly shrugs.

SHOEMAKER  
Just brush it off, Doctor Langston.  
He's old. Needs a companion. Maybe  
I should give him one of my sheep.

Shoemaker's joke relaxes Langston. The CSI looks back down into the well, shining his light around the area below. The light glints off something at the bottom. He leans over a little further.

LANGSTON  
Is that money?

Patrolman Shoemaker leans over, bracing his hands on his knees.

SHOEMAKER  
Sure looks it.

Langston leans back, frowning.

LANGSTON  
I do not like small, confined spaces.

Patrolman Shoemaker smiles.

SHOEMAKER  
Just think. You gave up tenure at  
the university to become a CSI.  
Wasn't that a great career move?

Langston laughs as he stands. The two head back to their vehicles.

EXT. PAINTED DESERT NURSERY - DAY

Nick kneels on one knee next to the loosened coffin lid. He carefully lifts it off, turning it so it slides gently onto the ground. Dead fire ants drip from the underside.

Inside are the partial remains of a woman. The ants have eaten fleshy areas down to the bone. A portion of her left eye remains; she was blue eyed.

Nick pulls on a pair of heavy work gloves. He picks up a garden spade and clean, empty paint can, and begins scooping fire ants into the paint can. The tip of the spade brushes the woman's hand, turning her wedding ring.

His eyes move to her curled fingers. Nick picks up her hand, turning it as far as he can. Her fingers are worn raw and several fingernails are missing.

Catherine walks up to him, fiddling with her camera.

CATHERINE  
I'm heading back to town with my body.

Nick doesn't acknowledge her. She looks down at him. He's seeing a ghost.

CATHERINE (CONT'D)  
Are you all right?

Nick slowly stands, looking at the lid. Most of the ants have fallen off and now he can see the underside. The missing fingernails are embedded in the wood. There are long, bloody scratches on the wood.

CATHERINE (CONT'D)  
Nick, why are you shaking?

Nick looks into the coffin and doesn't see the woman -- he sees himself. It causes him to retreat toward the open grave.

Catherine looks at the coffin and then him.

CATHERINE (CONT'D)  
Nick, talk to me. What's wrong?

The hallucination of himself turns its head, reaches a grotesque, half eaten hand out, mouthing 'help me.' Nick retreats faster.

CATHERINE (CONT'D)  
Nick, what-- Nick stop. STOP! NICK!

Catherine grabs for his arm as his last step sends him plummeting into the grave.

I/E. PLEXIGLASS COFFIN - NIGHT

Nick lands hard at the bottom of the coffin and the lid slams shut, sealing him in. Nick screams and beats his fists against the lid. Overhead, he sees Walter Gordon start shoveling dirt onto the lid, smiling as he does it.

NICK  
HELP! HELP!

CATHERINE (o.S.)  
PANCHO, GRAB MY HAND!

EXT. PAINTED DESERT NURSERY - DAY

The name brings Nick back. He's covered with fire ants. At the edge of the grave Catherine and the Hazmat Guy are holding out their hands to him.

CATHERINE  
Grab my hand!

Nick lunges forward, grabbing their hands. He's already having difficulty breathing. Catherine and the Hazmat Guy haul him out. A uniformed officer and another Hazmat man are running toward them with fire extinguishers.

Catherine drops to her knees, cradling Nick's face against her stomach. She ducks her head as the men spray Nick with fire extinguishers. Nick can't get a breath and in a panic, tries to push Catherine away.

CATHERINE (CONT'D)  
Hold on, Nicky. Hold on.

Nick's fight grows weak until he doesn't move.

HAZMAT GUY

Clear!

She sits up, looking into Nick's eyes. He's barely conscious, his lips are turning blue, and he's lost color in his face. His breathing has been reduced to short, forced gasps.

She starts to cry from her own panic. With a shaking hand she rips the zipper across the vest pocket he'd patted earlier. Three Epipens spill onto the ground. Before she can reach for them, Robbins appears and grabs one.

CATHERINE  
Hurry!

Robbins preps the injector and falls to one knee. He winces fiercely, but he's focused on saving Nick's life.

ROBBINS  
Stay with us Nick. Stay with us.

He jams the injector against Nick's thigh.

FADE TO:

EXT. PAINTED DESERT NURSERY - LATER

Nick leans against the CSI vehicle grill. His eyes are closed. He draws in a deep breath and holds it, then slowly releases it. He opens his eyes at the sound of someone walking toward him. Catherine passes in front of him on her way to the driver's side.

CATHERINE  
Okay. The scene's secured. Get in  
and let's get you to the hospital.

Nick doesn't answer or move. His expression is blank, but his eyes reveal that his Mr. Hyde has come calling.

Mr. Hyde has one purpose in Nick's life: solve the crime that brought him out at any cost. He doesn't care who he has to destroy doing it and that includes Nick. He is disillusioned into thinking he's invincible and if anyone gets in his way, he will tear them to shreds.

He almost surfaced once when a little girl left a bubble gum trail. Before that, only four people on the graveyard shift had ever seen him. Only two had ever been able to control him, but one is dead and the other has left the country.

Nick reaches down, picks up the field kit at his feet, and starts walking back his crime scene.

Catherine turns at the door, watching him walk away. She jogs to catch up, stopping in front of him. He steps around her, continuing. She falls in beside him, watching his face.

CATHERINE (CONT'D)  
Where are you going?

NICK  
I have a crime scene to process.

CATHERINE  
No. Nick, we're going to the  
hospital. You're more important  
than a crime scene.

Nick keeps marching. She grabs his arm to stop him. He swings as if he plans on hitting her. She winces, stepping back fast. It gets the attention of the uniformed officers around them.

Catherine immediately recognizes that Nick's Mr. Hyde has surfaced. She has to work to hide how nervous he really makes her, or that she knows there is no one to control him.

CATHERINE (CONT'D)  
(quietly)  
You will not get in this mood,  
Nicholas! I am not Grissom and I  
will not let you put the lab  
through a week of hell while you  
nearly breaking every law just to  
solve your case! You will snap out  
of it and you get in that car! We  
are going to the hospital.

NICK  
Get out of my way, Catherine.

The challenge is open and they stare at each other a moment.

Mr. Hyde slowly walks around her, holding her gaze as he passes, challenging her authority. Her bluff called, Catherine doesn't follow him or stop him. She watches him walk away because she knows there is nothing she can do.

INT. AUTOPSY A - NIGHT

The doors open as Greg pushes in a cart with an assortment of home tar removal remedies. Robbins and David are working on Nick's victim. David is about to make a 'Y' incision, Robbins is getting ready to open the skull.

Both pause to watch Greg. Greg stops, looking at the two empty autopsy tables, and then the coroners.

GREG  
Where's my vic?

DAVID  
The tarred and feathered corpse?

GREG  
Yeah.

The two point to the alcove off the morgue. Greg turns. The corpse is still in the body bag. Greg looks back at them.

GREG (CONT'D)  
Why is it still in the body bag?

ROBBINS  
Did you really think we were going  
to get tar all over the morgue? And  
if you get tar anywhere in my morgue,  
you're cleaning it up.

GREG  
We don't know if its tar.

ROBBINS  
And I'm Queen Sheba.

Robbins and David chuckle over the joke. Greg doesn't. He heads for the alcove with his cart.

DAVID  
What is all that stuff?

GREG  
Everyone I've talked to had some idea  
about how to get the tar off. I've--

ROBBINS  
I thought it wasn't tar.

Greg ignores Robbins' taunt.

GREG  
I've never had to remove tar from  
anything, so I figured I'd try  
stuff till I find one that works.

ROBBINS  
Greg...

Robbins puts down the bone saw and pulls off his gloves, following Greg. David continues working.

ROBBINS (CONT'D)  
You can't try things haphazardly.

Greg stops and turns.

GREG  
You know how to get it off? Please  
tell me you do.

ROBBINS  
I don't. Call Grissom.

Behind Robbins, David jumps back from the body.

DAVID  
(concerned)  
Doctor Robbins.

GREG  
He's not a CSI. I can't discuss an  
ongoing case with him.

DAVID  
Uhm... Doctor Robbins!

ROBBINS  
Just a minute, David. So don't  
discuss the ongoing case with him.  
Just ask him how to get tar off a  
person, or a corpse. That's not  
giving out details, just asking for advice.

DAVID  
Doctor Robbins, we have a serious  
problem here!

Robbins turns. Greg looks around him. Fire ants are pouring from the 'Y' incision.

ROBBINS  
David, grab fire extinguishers!

GRISSOM (ON PHONE)  
(sleepy)  
Good morning, Greg. It's awfully  
late. Is everything all right?

GREG  
Sorry. I didn't mean to wake you.  
I'll call later.

Robbins hobbles back to David, taking the fire extinguisher he hands him. The two start spraying the corpse with CO2. Greg pushes his cart into the alcove, and then calls Grissom.

ROBBINS  
THE ANTS, DAVID! SPRAY THE DAMNED  
ANTS, NOT ME!

GRISSOM (ON PHONE)  
No, it's okay. What did you need?

GREG  
Hypothetically, if you were working  
here still, and you got a body that  
had been tarred and feathered, how  
would you get the tar off?

DAVID  
(terrified)  
Get 'em off! Get 'em off! Get 'em off!

GRISSOM (ON PHONE)  
What is going on in the background?

Greg looks back. David is dancing around the room, batting at ants that have crawled onto him. Robbins is trying to spray him and the corpse with a fire extinguisher. Greg turns, staring at the body bag before him.

GREG  
Robbins and David are having issues with a corpse. So about the tar. What would you do?

GRISSOM (ON PHONE)  
I can't answer that. I don't work for  
the LVPD anymore. You know that.

GREG  
This is a hypothetical. Let's just  
say that once you had a corpse like  
that. What would you have done?

Something crashes and he looks back again. The ants are making their way off the autopsy table. David is still dancing.

ROBBINS  
Stop hopping around and call  
Hazmat, David!

Greg turns away again.

GRISSOM (ON PHONE)  
I sounds like they're being  
attacked. What is going on?

GREG  
I can't tell you everything but it  
involves fire ants. Did you know  
they can live in a corpse for a while?

GRISSOM (ON PHONE)  
Yes. I do. Is there a hypothetical  
explanation about why they're in  
the morgue?

GREG  
Body buried with fire ants. Can't  
say much more. About my hypothetical  
tar covered corpse...

Something else crashes but Greg resists looking.

GRISSOM (ON PHONE)  
Tar is nearly impossible to get  
off. All the cleaners you could use  
would damage the body and any  
evidence on it. You could try  
submerging the body in ice water  
and then chip it off, but it's  
going to take a long time.

GREG  
I have thirty years or so.

GRISSOM (ON PHONE)  
It won't take quite that long.

The fire alarm is tripped and the sprinklers turn on. Greg closes his eyes, shaking his head.

GREG  
I was joking. Look, I gotta go.  
They set off the sprinklers and  
everything's getting soaked.  
Thanks for helping me.

GRISSOM (ON PHONE)  
Sounds like I'll be missing an  
interesting case.

GREG  
You are missing a couple good ones  
tonight. Ray has himself a soap mummy.

GRISSOM (ON PHONE)  
Perhaps you can call me when the  
case is closed and share some  
more information about them.

GREG  
Sure! I'll do that. Send you  
some pictures too. Night, Grissom.

GRISSOM (ON PHONE)  
Good night, Greg.

Greg hangs up and jogs over to help the Medical Examiners.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. CSI - CHEM LAB - NIGHT

Nick is covered with pustules and hydrocortisone cream, and Mr. Hyde is still in control. He sits at a microscope looking at one of the dead ants as he runs a test on the insect. **HODGES** walks up with a handful of printouts, and unbeknownst to him, stands dangerously close. Nick doesn't acknowledge him.

HODGES  
I have a home remedy that works  
great on insect bites, if you want  
me to give it to you.

Nick looks up at him. Hodges smiles. Nick glares. Hodges' smile wilts.

HODGES (CONT'D)  
Moving on. I finished the DNA on  
the hair and skin you found on your  
victim. I also ran the sexual  
assault kit. It came back negative;  
DNA didn't pull up anything. But I  
took the liberty of running her  
dental records for you. She has a  
name now Sarah Montrèsor.

Nick yanks the printouts out of Hodges' hand, surprising him.

NICK  
Did I tell you to run the DNA  
through CODIS?

Hodges hesitates.

NICK (CONT'D)  
Did I?

HODGES  
Well... no. I was just--

NICK  
Lab rats run the tests. CSI decide  
which databases to run those tests  
through. Don't you ever do my job  
for me again.

Hodges crumples under Nick's unusual mood. He offers Nick a nervous smile.

HODGES  
I, uhm-- My bad. I'm sorry. Bye.

Hodges scampers away. Nick watches him go until he meets eyes with Catherine. Nick turns back to work. Catherine walks into the lab and sets a folder down next to the microscope.

CATHERINE  
Here's a copy of the tire  
impressions I found.

Nick doesn't acknowledge her. She waits for a moment before leaving.

INT. AUTOPSY B - NIGHT

Greg's corpse has been moved to another autopsy table in the room. The body bag has been cut and torn off, but many large pieces are affixed to the now hardened tar. Greg wears a full face shield, a disposable operation gown open in the back, and rubber gloves.

On the empty table nearby is a roll of heavy duty paper towels. On several spots on the tar coated corpse that pieces of towel are being used like a man would use piece of tissue a razor knicks.

Greg is using a pick and reflex hammer to slowly chip at the tar. He glances up when Robbins enters. The coroner drops files off on his desk before coming over to observe.

ROBBINS  
Greg... What are you doing?

Greg looks up at him to answer as he lets the hammer fall. It smashes into the pick and jabs right through the tar into the body. Greg pulls it out and blood and serum start flowing from the hole. He drops his tools and grabs a paper towel, pressing it against the hole.

ROBBINS (CONT'D)  
How many times have you done that?

Greg smiles sheepishly.

GREG  
Not many.

David walks out of the back wearing scrubs and carrying car keys.

DAVID  
I'm off to get x-rays of Ray's soap  
mummy. I should be back in an hour.

Greg picks up the reflex hammer and pick, which Robbins immediately yanks away from him.

ROBBINS  
Take butterfingers Greg to help.

GREG  
I have to finish my tar, man!

ROBBINS  
At the rate you're going, you're  
going to kill him a second time. Go  
help David with the mummy. Be a  
good CSI.

Greg pulls off the autopsy wardrobe and sets it on a table. The two leave.

Robbins puts on the face shield, selects a bone saw from his tools, and goes to work on the tar man.

INT. CSI BUILDING - DNA LAB - NIGHT

Hodges has his nose stuck in his work when Catherine enters. He's pretending that his encounter with Nick hasn't shaken him. Even forces a smile.

CATHERINE  
I heard Nick yelling at you.

HODGES  
It was nothing.

CATHERINE  
Hodges, what happened?

Hodges looks out into the lab. He can just see Nick but the CSI doesn't notice. Catherine glances in the same direction. She looks back, finding Hodges working.

CATHERINE (CONT'D)  
I will keep this conversation  
confidential.

Hodges stops moving.

HODGES  
I was just trying to help him. I'd  
heard what happened at his crime  
scene, so I ran the DNA results  
through CODIS for him and it made him  
angry. He said I was doing his job.

CATHERINE  
Give me a copy of your findings.

Hodges reprints the documents

HODGES  
I've never seen him like this,  
Catherine. I'm worried.

CATHERINE  
He's gotten like this twice before.  
Don't worry. He'll come back.

HODGES  
Come back? What does that  
mean?

She doesn't answer.

HODGES  
Catherine, I've never seen him like  
this. He's really scary.

CATHERINE  
It was a long time ago when he was  
last like this. Don't do anymore  
than he asks and don't try to chat  
with him. Do that and you'll be fine.

He hands the printouts to Catherine. She starts reading it.

HODGES  
How long did this mood last before?

CATHERINE  
One week too long. This is good  
work, Hodges. Let me know if you  
find anything more.

Hodges watches her leave. Her conversation hasn't put him at ease.

INT. SUNRISE HOSPITAL - CLEAN ROOM - NIGHT

In a bright, white, clean room, lays the well mummy. The bloated skin has stretched the clothing tight. The skin is a tan brown color. The skull has come apart and sits at the top of the surgery table. One leg has come off and is thinner than the rest with the bone protruding.

Langston wears an environmental suit attached to an air hose overhead. He snaps off photographs of the body and then sets his camera aside. He starts carefully scraping under the fingernails, trying to keep the nails from pulling out of the nail beds.

He glances up when the airlock door opens. A person in an environmental suit comes in with their back to him. The person attaches a hose and turns. Langston smiles at Riley when she comes in. When they speak, their voices come through the speakers embedded in their helmets.

LANGSTON  
Couldn't stay away, could you?

Riley circles the table, admiring the corpse.

RILEY  
I'm jealous. The only adipocerous corpses  
I've ever seen were in text books.

Langston lays out a paper on the table and tries to pick up the head. Riley helps him move it onto the paper. They each grab a comb and carefully comb trace from the dry, brittle hair.

RILEY (CONT'D)  
Are there any signs of putrefaction?

The two finish and move the head off the paper. Langston folds up the paper and puts it in an envelope.

LANGSTON  
So far I haven't found any. I  
assume adiprocerous happened  
quickly. He was sealed in the well  
until the farmer opened it.

He grabs a pair of surgical scissors and begins making careful cuts along the shirt to get it off.

LANGSTON (CONT'D)  
The farmer told the officer that  
when he was a child, his father got  
fed up with creatures falling and  
boarded it up. He was eleven then.  
Most likely, that's when my mummy  
was sealed in also.

RILEY  
Do you like the farmer for this?

LANGSTON  
While he is quite rude, no. His  
father, perhaps, but he passed away  
five years ago. The curious thing  
about this corpse--

RILEY  
Other than it was an adipocerous  
corpse in a dry well?

Langston smiles and nods.

LANGSTON  
Yes. Other than that. There was a  
large number of gold coins around  
the corpse. I have to return for  
those as soon as I finish this preliminary.

RILEY  
Good luck with that. Let me know if  
you need any help. Hey. Have you  
talked to Nick today?

LANGSTON  
No. I haven't seen him since last  
night. He was in a foul mood then.

RILEY  
It hasn't improved much. I bumped  
into him in the break room and he  
about bit my head off. Catherine  
said to just avoid him; that his  
case is getting to him.

Not knowing what is wrong with the senior CSI, Langston can only offer a sympathetic smile.

LANGSTON  
I'm sorry. I don't know anything  
about it.

RILEY  
Yeah. Me either. I don't know if  
you know this, but Greg is a coin  
collector. You should ask him about  
the coins.

LANGSTON  
Thank you for the tip. I will do that.

She offers a smile, and then leaves him to his mummy.

INT. CSI - LAYOUT ROOM - NIGHT

With a magnify glass and tweezers, Nick slowly moves over the coffin lid. Greg comes in and pulls latex gloves from the box. Nick turns when one snaps, glaring at Greg. Greg doesn't notice yet.

GREG  
This is a mess. Where do you want  
me to start?

Nick doesn't answer. Greg looks up with a smile, but it vanishes under Nick's hard stare.

NICK  
Don't you have your own case to  
work on?

GREG  
Not right now. Hodges is running  
samples of tar for me, and Robbins  
won't let me within ten feet of my  
corpse right now. I thought you  
could use a hand.

NICK  
I don't need help.

Greg looks around the room. There's a lot of evidence that Nick hasn't processed yet. More than Nick will ever get through in one night.

GREG  
I could start on the clothes or the--

NICK  
Get out.

Greg looks back at him, surprised by the order.

GREG  
What?

NICK  
Get out!

GREG  
Did I do something--

Nick slams the magnifying glass on the table, cracking the lens.

NICK  
Get. Out.

Greg swallows. He steps back, slowly pulling his gloves off.

GREG  
If you change your mind...

Greg hurries out. Nick retrieves another magnifying glass from his kit and returns to his work.

EXT. FARMER DELL'S PEACH GROVE - DAY

A rappel tripod sits over the well. A rope is attached to it, hanging loose down the well. Langston has a rappel harness on and is attaching a rope to it. He glances up.

Patrolman Shoemaker sits on the hood of his car, watching him. Standing right at the cordon tape Farmer Dell glares at Langston.

Langston looks away, making a loop to attach a bag of tools to. He moves around the well and sits down on the edge. Langston pulls on climber gloves, takes up the slack in the line and starts down the well.

INT. FARMER DELL'S WELL - DAY

At the bottom he spreads his legs to brace himself on the edges and avoid stepping where the coins are. Langston pulls off the climbing gloves, shoves them in his back pocket, and takes a pair of latex gloves from the other back pocket.

He pulls out a clear nylon bag, small spade, and hand strainer from his equipment bag. He retrieves all the coins, ties the bag onto the loose rope and put his tools in the equipment bag. Langston carefully collects scrappings from the side of the well and soil samples in plastic test tubes.

He finds the water table only a few inches down. He collects a sample of the water in a test tube. Langston holds the water sample up to look at it and notices Farmer Dell standing at the top.

LANGSTON  
Sir, you can't be there. You have  
to get behind the tape.

FARMER DELL  
I want my well back! You said you'd  
have this wrapped up yesterday, then  
you never came back. What the hell  
kind of racket are you running? Do  
you have any idea how many trees  
I'm losing without this water!?

Patrolman Shoemaker appears.

SHOEMAKER  
Sir, you have to get behind the  
tape. Come on.

Patrolman takes his elbow. The man pulls back.

FARMER DELL  
This is my property!

Patrolman Shoemaker herds Farmer Dell away as the two continue arguing. Langston packs up his things and climbs out of the well.

EXT. FARMER DELL'S PEACH GROVE - DAY

He finds the two at the tape, still arguing about the investigation. Langston unfastens the rope, letting it fall back into the well.

He grabs the free rope and pulls up the heavy bag of coins. Near the top he kneels down and swings it onto the ground before working the rope free.

FARMER DELL  
Did that gold come from my well?

Langston looks up. Farmer Dell is staring at the bag of gold.

LANGSTON  
What do you know about it?

Farmer Dell charges toward Langston like an angry boar.

FARMER DELL  
It's mine.

Langston stands up. Farmer Dell is not intimidated by Langston's height. Patrolman Shoemaker tosses up his hands as he follows the old man.

LANGSTON  
How'd it get in the well with a  
dead man?

FARMER DELL  
You found it in my well! It belongs  
to me!

Langston is unmoved by the 'finders keepers' claim.

LANGSTON  
I'm sorry, sir, but until I've  
cleared them, they're evidence. If  
you would like to fill out--

FARMER DELL  
I ain't filling out shit! Give me  
that gold now, you thief!

SHOEMAKER  
For the last time, sir, regardless  
of whether this is your property or  
not, you have to get behind the tape  
until the CSI has cleared the scene.

FARMER DELL  
(to Shoemaker)  
You're going to listen to him?

SHOEMAKER  
Yes. Now come on.

FARMER DELL  
I've never listened to a nigger in  
my life.

He tries to grab the bag of gold. Langston's pulls it out of the man's reach. Farmer Dell lunges for it and Langston side steps.

The old man grabs for air as he falls into the well. He catches the rope and slides down it, coming to a stop a few feet from the ground. He drops down and turns his angry glare up at the two.

FARMER DELL (CONT'D)  
Well! Don't just stand there! Get  
me out of here!

SHOEMAKER  
(whisper)  
Do we have to? He's out of the way  
down there.

Langston works hard to keep down his chuckle. Shoemaker almost smiles.

LANGSTON  
I'll go call for a fire truck.

Patrolman Shoemaker clears his throat.

SHOEMAKER  
We're calling a fire truck to bring  
a ladder, sir. Sit tight.

FARMER DELL  
There's a ladder over at the shed.  
Go get it. Hurry up!

SHOEMAKER  
I'm sorry, sir, but I can't leave  
the area now that you're down  
there. CSI Langston has to take his  
evidence back to the lab, you see,  
so that he can clear up the crime  
scene and you can drill your well  
before your peach trees die.

Langston hurries away, working hard not to laugh.

FARMER DELL  
YOU ARE A COMMUNIST IDIOT!

SHOEMAKER  
I'm pretty sure I'm not, but in the  
mean time, you just sit tight. The  
fire truck's going to take a while.  
We're pretty far away from town.

Langston gets into his vehicle and slams the door as he bursts into howling laughter.

INT. AUTOPSY A - NIGHT

Robbins is sawing away at the hardened tar Greg's corpse. There are some portions of the body exposed. The skin is welted with third degree burns, or peeled away from the tar removal.

Catherine walks in unnoticed and starts rifling through Robbins' desk.

CATHERINE  
Where's the autopsy report for  
Nick's corpse? She was buried and  
there were fire ants. Did you  
finish her yet?

Robbins stops and turns, lifting his facemask. He frowns as he watches her for a second. He sets the saw down, pulls off his gloves, and shoos her away from his desk.

ROBBINS  
It's not in there. Nick picked it  
up at the start of the shift. All  
the trace evidence too.

CATHERINE  
Was he in a better mood tonight?

ROBBINS  
No. He bit my head off when I told  
him I hadn't gotten the tox results  
back yet. He left here out for  
Henry's blood.

CATHERINE  
What did the autopsy tell you?

ROBBINS  
Preliminary, she died of asphyxiation  
from the ants filling her lungs.

CATHERINE  
Were there any signs of trauma? Did  
she fight back?

ROBBINS  
What the ants didn't destroy, she  
did when she struggled in the  
coffin. She clawed at the lid,  
that's all I can tell you.

CATHERINE  
Could you tell if it happened  
before or after she was buried?

ROBBINS  
Well, with the way she clawed at  
the lid I'd say...

Robbins looks in the direction of the drawers.

CATHERINE  
You'd say what?

Robbins hobbles over to the drawer the vic is in and opens the door. He pulls the drawer out and yanks the sheet back. Robbins picks up her hand, looking at the woman's mangled fingertips. He looks up as Catherine walks up.

ROBBINS  
Most likely when she was buried alive.

Robbins gently places the woman's hand on her stomach.

ROBBINS (CONT'D)  
Nick must have put that together at  
the scene. And if he did, that  
explains what set off his panic  
attack at the crime scene and why  
Mr. Hyde has appeared. Again. I  
hate that man!

CATHERINE  
Me too, Al. I'll get him off this  
case. That should help.

She heads for the door.

ROBBINS  
Catherine. You can't do that.

She stops, turning back to him.

CATHERINE  
I'm the supervisor. I damn well can.

Robbins walks up to her, laying a hand on his shoulder.

ROBBINS  
The other two cases he was like  
this, they weren't personal. Pulling  
him off probably would have been a  
good idea, yet Grissom didn't  
because he knew Nick would come  
back if he solved them. But this  
one, Catherine, is deeply personal.  
In my medical opinion, you need to  
let him finish what he's started,  
or you may lose a very good CSI.

CATHERINE  
Because it's personal, I can't  
leave him on the case, Doc. He  
can't stay objective.

ROBBINS  
Oh, on the contrary, he's staying  
quite objective. He's being meticulous  
and ordering tests he wouldn't  
normally need, but are still in  
line with his findings. I know. He's  
thrown the case file at me four  
times because I didn't notate something  
or do it as thorough as he wanted.

CATHERINE  
And that doesn't make you angry?  
I'm furious with how he's treating  
me and everyone else.

ROBBINS  
Yes, but then I remind myself of  
what Grissom said the last time he  
was like this. He told me most  
people who are cursed with Mr. Hyde  
side use it heinous acts. Nick isn't  
very nice when his shows up, but  
he's using it to solve a crime most  
of us couldn't even cope with. The  
Hyde side is protecting Nick, and he  
isn't going to stay forever. He was  
right. Nick came back once he solved  
the crime and everything was fine afterwards.

CATHERINE  
Funny... When I called him an hour  
ago to ask what he did the last time  
Nick was like this, he told me that  
same thing, word for word. I wasn't  
listening, I guess.

ROBBINS  
It's hard to when your friend is  
behaving so poorly, but doing his  
job better than ever. Weather this,  
Catherine. Nick needs you to.

CATHERINE  
Thanks, Doc.

She leaves the morgue. Robbins hobbles back to the corpse and goes back to work.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. CSI - CHEM LAB - NIGHT

**HENRY** is working on several cases at once and is insanely busy.

NICK (O.S.)  
Why isn't my tox report done, Henry?

He turns, staring at Nick. Arms crossed, Nick glares at him.

HENRY  
Which one?

Nick marches forward, stopping at the counter that separates the two. Henry isn't intimidated by Nick's rage.

NICK  
She was buried. There were fire  
ants. Where is it?

Henry sorts through the folders in a metal stand. He hands the results to Nick, and then starts working again.

HENRY  
Sorry, Nick. There wasn't anything  
conclusive. I had to rule her death  
with Robbins' findings -- the ants  
killed her.

Nick watches his back.

NICK  
You found nothing?

HENRY  
All I found is in the report.

NICK  
Don't fuck with me, Henry! Tell me  
what it says!

Henry slowly looks over his shoulder at Nick. The outburst doesn't make him angry, more concerned, so he doesn't lose his cool.

HENRY  
It says anaphylactic shock contributed  
to your vic's death. There were no  
other identifiable toxins and all  
results have been rendered inconclusive  
due to the high levels of hymenoptera  
venom. Will that be all, CSI Stokes?

Nick's jaw twitches.

NICK  
Yes.

Henry offers a quick, tight smile before he goes back to work. Nick storms out. Henry looks up -- there was something he didn't say.

INT. CSI - LAB - NIGHT

Langston comes around a corner, carrying test tubes and a tray of gold coins caked with dirt. He turns into the door of a lab and stops. Nick is the only person in the lab and sits at a microscope.

Langston looks around the lab. Techs have crowded into other labs because everyone is avoiding being in the same room as Nick.

Langston walks up to the counter, setting the items down. He grabs a test tube rack and lines the tubes up in it.

Nick looks up at him with a cold glare. Langston ignores him as he begins preparing slides.

NICK  
There are other labs.

LANGSTON  
The other labs are full. I'll stay here.

NICK  
I wasn't asking.

Langston meets Nick's icy glare. He's unmoved by it. Like Henry, he's more concerned than scared or angry.

LANGSTON  
I'm staying. You don't have to speak  
to me if you don't feel like it.

Nick turns back to his microscope. Langston begins preparing slides from the dirt and soil he collected.

LANGSTON (CONT'D)  
I knew this co-worker once who I  
believed was a fairly decent person--

Nick looks up.

NICK  
I thought you weren't going to speak?

LANGSTON  
I said you don't need to speak. I  
said nothing about doing so myself.

Nick gets up and starts angrily collecting his evidence so he can leave.

LANGSTON (CONT'D)  
One day, through idle chat, I  
learned  
from another co-worker that he had a very  
traumatic experience once -- he had been  
buried a live. Mm! I would have gone  
in sane if it had been me. Then, one  
day, he was assigned a case very  
similar to his experience.

When Langston doesn't go on, Nick stops and turns to him

NICK  
What happened to this co-worker of yours?

LANGSTON  
I don't know yet, but hopefully  
nothing bad. Maybe I should tell  
him I'm a very good listener, and  
I do consider him a friend.

Nick stares at him. Langston has soothed Mr. Hyde, but yet he is an unforgiving entity.

NICK  
You should have told him that  
before he got the case.

Langston watches him leave. He sighs -- he gave it his best shot. Langston returns to his slide. He slips one under the scope clips and leans in.

**MICROSCOPE POV**

**The dirt reveals silica in sandstone or mudstone, a few microscopic fragments of ancient seashells, and basalt.**

**BACK TO THE SCENE**

Langston smiles as he sits back.

GREG (O.S.)  
Good evidence?

Langston glances back as Greg steps up to the counter. He's holding an envelope of developed x-rays.

LANGSTON  
I might have found the answer to  
what made my soap man. Now I just  
have to figure out who he is.

GREG  
Doc Robbins said he wanted you to  
look at these. He said there's something  
interesting in them, but wouldn't  
tell me what.

Langston takes the envelope and walks over to a light table. He switches it on and lays out the x-rays.

LANGSTON  
Aren't you supposed to be working  
your own case?

GREG  
Yeah, but the tar won't come off,  
and Robbins won't let me touch the  
body; says I'm destroying it. I get  
the distinct feeling this may end  
up being a John Doe case. I can't  
even see the guy's face.

Langston looks up, thinking about what Greg just said.

LANGSTON  
So how do you know it's male?

GREG  
He was naked when the stuff was  
poured on him, and it was hot.  
Lots of blisters on his genitalia.

That makes Langston wince in empathy for the deceased.

LANGSTON  
Do you have time to assist me on my case?

GREG  
I do. What's up?

LANGSTON  
Those gold coins over there were  
found with my corpse. I was told  
you are a numismatist. Would you  
mind looking at them?

GREG  
Sure.

Langston points at the tray of gold. Greg pulls on gloves and picks up a few. He can't brush off the caked mud, so he washes them in sterile water.

**CSI POV**

**The gold coins have embossed on them a variety of symbols. Several have the Canadian Maple Leave and the various American gold bullion are prominent. But there are a handful of others from around the world: Chinese Panda, South African Krugerrand, Australian Kangaroo, 3-4 British Sovereigns...**

**BACK TO SCENE**

GREG (CONT'D)  
I want this collection! Wow!

Langston turns.

LANGSTON  
They are rare or valuable, I assume.

GREG  
Both! They're gold.

LANGSTON  
Pure gold?

GREG  
Close. This one's a U.S. Eagle. It's 92% gold. And this one.

Greg held up one with a Maple leaf on it.

GREG (CONT'D)  
Is a Canadian Maple. It's 99.99% gold.

Greg carefully moved each coin onto the counter.

GREG (CONT'D)  
This collection is from all over  
the world. There's some Kruggerrand,  
Chinese Pandas, an Australian Lunar  
and Roos, and--

LANGSTON  
I'm sorry, Greg, but all of that  
means nothing to me. Are they  
currency or not?

Greg holds up a coin embossed with a bald eagle.

GREG  
Not. They're bullion.

LANGSTON  
What are they worth?

GREG  
Normally that would be judged by  
their weight in gold, but some of  
these were limited production, so  
they'd be worth more than their  
weight in gold.

LANGSTON  
Let's pretend they're all worth the  
same. Ballpark it.

Greg moves the coins onto a scale.

GREG  
This isn't an accurate measurement  
because bullion is measured in troy  
ounces instead of avoirdupois ounces.  
(turns to Langston)  
Going on the price the exchange opened on this morning, they're  
worth about two hundred and fifty  
thousand in U.S. currency. What was  
your mummy doing with these coins?

LANGSTON  
Falling into wells, apparently.

Greg cell phone rings.

GREG  
What's up Hodges? Be right there.

Greg hangs up.

GREG (CONT'D)  
Gotta split.

Greg leaves.

Langston leans over the x-rays. Suddenly he sees what Robbins wanted him to. In the man's chest is a solid object that is not deliquesced bone, and roughly the shape of a wallet. Langston smiles -- a good lead may be hidden there.

INT. CSI - HALLWAY - NIGHT

Greg prances up to Catherine, falling into step with her. She is engrossed in a stack of printouts and notes, and doesn't notice him beaming with pride.

GREG  
The tar is a mixture of bitumen and sand.

She glances at him.

GREG (CONT'D)  
Two things it's used for are making  
mummies and sealing wooden ships, but  
I doubt that's the case here, so that  
leaves only roofing and road construction.  
Since there was so much, chances are  
the suspect is in one of those professions.

CATHERINE  
You don't think a homeowner could  
have purchased it to roof their  
home? Or pave their driveway?

GREG  
Do you know many homeowners that  
would want to?

CATHERINE  
That is why you should start with  
the easy lead, Greg. It'll be a small  
list. If those leads checks out--

NICK (V.O.)  
How in the hell can you screw up  
testing wood for trace, Hodges!

The two stop and turn, watching Nick charge into a lab. He corners Hodges and lays into him in a much quieter voice, but with no mercy.

GREG  
I've go leads to find. See ya.

Greg hurries away. Catherine heads toward the lab, dialing a number on her cell phone. She's almost to the door when Nick storms out and past her. Hodges dashes out the opposite exit.

She stops, looking both directions.

BRASS (ON PHONE)  
Hey, Catherine. What's up?

CATHERINE  
I need a favor, Jim...

INT. CSI - A.V. LAB - NIGHT

Nick sits at a computer that's running a comparison search through CODIS. Brass walks up to the door and leans against the frame.

BRASS  
Nick.

Nick turns to him.

BRASS (CONT'D)  
I brought in the husband.  
Guess what he was doing when  
we found him?

Brass smiles. Mr. Hyde is not amused by Brass' interference.

NICK  
I never asked you to pick up the husband.

BRASS  
He filed a missing person report  
on his wife, so I was following  
up on it.

NICK  
That was my call, Jim, not yours!

A short, tense silence follows Nick's outburst. Brass walks up to him. Before Nick can rise, Brass lays his hand on his shoulder, looking him in the eye.

BRASS  
Catherine asked me to follow up on  
the missing person report the guy  
filed on your vic. When we arrived  
at the man's house, he was packing  
to leave. He told me that he was  
leaving for just a few days, but  
there was enough stuff in his car  
for a few months and the house was  
up for sale. Since I have a few years  
up on you investigating homicides,  
I went with my gut that this man  
was about to disappear, and brought him  
in for questioning. Any questions?

Brass backs off. His scolding effectively calms Mr. Hyde.

BRASS (CONT'D)  
Now... I got this guy downstairs  
waiting to have a chat with you,  
Nick. When should I tell the  
officer to expect you?

The computer beeps and both look at it. There's a match to her husband indicating he is the one that buried her alive.

BRASS (CONT'D)  
What is that from?

NICK  
Some skin trapped under her  
fingernails that were embedded in  
the lid. She was still alive when  
he buried her.

BRASS  
This asshole buried her alive?

Nick nods. Brass makes the connection.

BRASS (CONT'D)  
If I'd been buried alive, I'd have

a rough time with this case too.

Nick looks up at him. Mr. Hyde has abandoned Nick at the worst possible time. Nick doesn't let on that he's suddenly scared to face the suspect. He stands and puts his case file back together.

NICK  
Do you mind sitting in on the interview?

BRASS  
Sure.

NICK  
Lead the way.

Brass leads the way.

INT. CSI - LAB - NIGHT

Langston has a wallet from his mummy and is carefully pulling items out and laying them on a tray lined with wax paper. He sets the wallet aside and begins washing the residue off the items. Henry walks in.

HENRY  
The soil and water samples you gave  
me were high in alkali, just like  
you thought. That water is so hard  
they could have cleaned Mount  
Rushmore with it.

Langston chuckles at his joke.

LANGSTON  
Set the report on my case file over there.

Henry sets the results down on the folder nearby and then leans in to watch. A driver's license emerges.

LANGSTON (CONT'D)  
I now have a name for Johnny Doe.

HENRY  
Edith Stuckley? The dude has a  
girl's name?

LANGSTON  
Ed-ith, not Ee-dith.

HENRY  
I dunno, Langston. Your vic has  
gained weight since this picture  
was taken.

Langston looks up at him, smiling. Henry laughs as he leaves. Langston turns to a computer, snaps off his gloves and starts a search on the name.

INT. CSI - INTERVIEW ROOM A - NIGHT

The room is silent. **KEVIN** Montrèsor sits alone on one side of the table. A uniformed officer stands guard at the door. Kevin has scratch marks all over his face, arms, and neck. He also covered in pustules coated in calamine lotion.

Nick and Brass enter and sit down. The obvious evidence goes unnoticed by Nick. Nick's courage has sold out and he's not at the top of his game. He can't bring himself to look at Kevin just yet.

Kevin smiles as he wags his finger at Nick.

KEVIN  
I know you. You were on the news a  
while back, weren't you? Weren't you  
kidnapped or something?

Nick ignores his question.

NICK  
You were married to Sarah Montrèsor?

KEVIN  
Yeah.

Brass watches Nick, something Kevin notices.

NICK  
I was told you were ready to leave  
town when you were picked up. Even  
put your house up for sale. Why would  
a guy leave if his wife was missing?

KEVIN  
I figured she'd run away with her lover.

NICK  
She was cheating on you?

KEVIN  
Yeah. With another woman. I found  
out by walking in on them.

Nick looks up. He sees Walter Gordon's face instead of Kevin's. He clenches his hands around the folder and looks down.

NICK  
Uh... When, uhm... When was the  
last time you s-saw your wife?

Brass takes out his cell phone and fires off a quick text message.

KEVIN  
A few days ago. So she was buried alive?

Nick slowly looks up. The hallucination is gone and he sees Kevin. It doesn't slow his downward spiral.

NICK  
No one told you how she was found.

KEVIN  
I remember the story now. You're  
Nick Stokes. Wasn't it last year  
that you were buried alive? What's  
it like to be buried alive? How do  
you know Sarah was? Do you think  
she prayed when she died? Did you?

Snap! Nick stands so fast he knocks his chair over.

NICK  
Excuse me a minute.

He's out the door before anyone can object. Kevin chuckles sitting back. Brass glares at him.

BRASS  
Sit tight. We'll be back.

Kevin holds open his arms.

KEVIN  
Take your time, Officer. I got  
allll night.

Brass goes out but Nick has vanished. He makes a call.

BRASS  
Catherine? That issue you asked me  
to keep an eye on... It just walked  
out of an interview. What do you want  
me to do? Hurry up. I can't hold  
him for much longer on a hunch.

Brass goes back into the room and sits down across from Kevin. Kevin smiles at him. Brass does nothing.

INT. CSI - CHEM LAB

Catherine steps in, knocking on the door frame. Henry looks up and smiles.

CATHERINE  
Have you seen Nick?

Henry glances in the direction he saw Nick go.

CATHERINE (CONT'D)  
Henry?

Henry picks up a piece of paper and walks over to her, handing it over.

HENRY  
But then, his victim was buried  
alive, wasn't she? And he doesn't  
know what to do with that.

She reads it, and then looks up at him.

CATHERINE  
You put this together on your own?

HENRY  
Between the evidence and that mood  
he's been in, it was the only  
logical deduction.

CATHERINE  
Have you seen him?

HENRY  
Yes. If you want to, I can go talk to him.

She not sure what to make of the offer.

CATHERINE  
You?

Henry nods. She looks at the paper, then nods.

CATHERINE (CONT'D)  
I have to interview his suspect.  
Keep an eye on him until I call.

HENRY  
Ok.

She leaves. Henry hangs up his lab coat, and walks down the hall. He pauses at the door to the stairwell, and then pushes it open.

INT. CSI - STAIRWELL - DAY

Nick sits alone on the last flight of stairs leading to the roof, the last place anyone would look for him. He has his eyes closed and is focused on his breathing.

HENRY (o.S.)  
Nick?

He opens his eyes. Henry stands at the bottom of the flight. He slowly approaches and sits next to Nick. The two don't speak right away.

NICK  
What are you doing here?

HENRY  
Catherine asked me to stay with you  
for a while.

NICK  
Probably fired. I walked out of an interview.

HENRY  
I don't think you are. Look, Nick,  
we all get why you were acting like  
you were. I mean... Most of us have  
pretty boring bad experiences. We may  
not understand, but we can empathize.

Nick doesn't respond. Henry lets out a sigh, leaning on his legs. He looks at Nick, waiting until the CSI meets his eyes.

HENRY (CONT'D)  
So next time a case gets to you, remember  
to let us help. We're your friends.

Nick smiles and nods.

NICK  
I'll remember that. Next time.

They say nothing more.

INT. LUCKY FORTUNE CASINO - HALL - DAY

Langston follows a **SECURITY GUARD** through the silent, unseen halls at the back of the Lucky Strike Casino. A photo sticks out of his jacket pocket. The Security Guard stops outside a pair of doors and taps the intercom next to the doors.

SECURITY GUARD  
Mister Stuckley, CSI Langston is  
here to see you.

RONALD (O.S.)  
Send him in.

The guard steps back and Langston enters...

INT. LUCKY FORTUNE CASINO - OFFICE - DAY

...a typical casino office. Plush carpet, expensive décor, a huge desk to compensate for something. Behind the desk sits **RONALD** Stuckley, a black haired, graying, well dressed, obese man. He is surrounded by men loyal to his money.

LANGSTON  
Ronald Stuckley?

The man behind the desk nods.

RONALD  
You said you had some questions  
about my brother?

Langston pulls a photo of the driver license from his jacket and sets it in front of Ronald.

LANGSTON  
Is this your brother, Mister Stuckley?

Ronald almost breaks down as he picks up the photo.

RONALD  
He's dead, isn't he?

LANGSTON  
Yes. I'm sorry for your loss, sir.

Ronald nods.

RONALD  
We called him Edie. He hated Edith.

LANGSTON  
When was the last time you saw him?

RONALD  
You have the report I filed. You  
know that.

LANGSTON  
I noticed he had some burglary  
charges on his record. Was--

Ronald points an accusing finger at Langston.

RONALD  
Edie never, not once, hurt anyone  
when he stole. He never even carried  
a gun. He did it for the thrill. He  
didn't do it for the money. And I  
compensated everyone that he stole from!

LANGSTON  
Did you compensate the last person  
he robbed?

RONALD  
What last job?

LANGSTON  
His body was found with over two  
hundred thousand in gold bullion.  
Did you compensate who he stole  
the bullion from?

RONALD  
No. I don't know where he would  
have gotten that.

LANGSTON  
Did he know anyone who had a collection  
of gold bullion coins?

Ronald starts to shake his head but remembers something.

RONALD  
There used to be rumors that Egon  
McAllister had converted his life  
savings into gold coins and he kept  
it hidden in his house.

LANGSTON  
Was he an enemy of Edie's?

RONALD  
No. They were close friends.  
Although... The morning he  
disappeared they did have a  
disagreement. He went to Egon's and  
found his daughter sitting in her  
own urine. He took her to Social  
Services, but he planned on going  
back to help Egon. I never gave it  
much thought back then.

LANGSTON  
Do you know where Egon lives?

RONALD  
Do you think he killed my brother?

LANGSTON  
I'm checking all leads at this time.

RONALD  
Is that cop talk for no, yes, or maybe?

LANGSTON  
I'm a scientist. Saying yes with  
certainty is a luxury and one I  
cannot afford right now. Can I have  
Egon's address?

Ronald is not humored by Langston's come back. He writes the address down. When he hands it to Langston, he doesn't let go. Langston looks him in the eyes.

RONALD  
Edie was a screw up, Mr. Langston, but  
he was my blood-related screw up. If  
that man killed him, I want to know  
before anyone else. Do you understand?

Langston pulls the paper away and leaves without answering.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. CSI - INTERVIEW ROOM A - DAY

Catherine enters the interview room and sits down next to Brass. Kevin grins.

KEVIN  
Where is Nick Stokes? I had more questions  
about him being buried alive.

Catherine ignores him.

CATHERINE  
I'm CSI Willows. I'll be asking the  
questions. Why were you packing to  
leave town two days after you filed  
a missing person report for your wife?  
And you put your house up for sale  
too? Seems morel like you weren't  
expecting her to ever return.

KEVIN  
We'd planned on putting it up for  
sale, and I had a business trip.

CATHERINE  
I understand you're an exterminator.  
Do a lot of exterminators have  
business trips?

KEVIN  
You'd be surprised.

CATHERINE  
With your wife missing, why didn't  
you reschedule it?

KEVIN  
So I was arrested for wanting to  
keep my job?

BRASS  
You're not under arrest... Yet.

CATHERINE  
I understand you believe your wife  
left you for her lover and that's  
why you didn't file a report within  
forty-eight hours of her disappearance.

KEVIN  
That's right.

CATHERINE  
So the last time you saw her, she  
was alive? Was that before or after  
she was buried?

KEVIN  
Is that how she was found? Alive?

Catherine smiles.

CATHERINE  
Buried, not alive. But I'm sure you  
already knew that, didn't you?

KEVIN  
Someone might have mentioned that.

CATHERINE  
Perhaps the person that killed your wife?

KEVIN  
Doubt it.

BRASS  
I'm curious, Kevin, did you watch  
the person bury her, or did you help  
that person nail the lid shut?

CATHERINE  
(to Brass)  
I think he thought of the ants. He  
is an exterminator.

BRASS  
Really? Why ants?

Catherine plays 'dumb cop' to use Kevin's swollen pride against him.

CATHERINE  
That has me stumped. Ants wouldn't  
do much damage.

KEVIN  
That's not true.

CATHERINE  
No?

KEVIN  
They can clean a carcass in minutes.

BRASS  
Really? We didn't find any evidence  
of them anywhere else on the property  
except in the coffin. Someone must  
have put them there.

CATHERINE  
Those ants seemed unusually aggressive.  
It seems risky trying to handle  
those things.

KEVIN  
They're just fire ants. If you know  
what you're doing, you can safely  
move an entire colony.

CATHERINE  
You can?

KEVIN  
See, the trick is stunning them and  
knowing where the queens are. You  
get the queens first and a lot of  
workers. If you leave the larvae  
behind or crush about a dozen or  
so, they go into this frenzy and  
attack anything.

CATHERINE  
How did they get on your wife? I imagine  
she must have struggled and putting them  
on her would have been difficult.

KEVIN  
She was out when I put her in the  
ground, and then I buried her with  
the pipes, poured the ants down the  
pipes, and pulled the pipes out.  
She was screaming...

Kevin stopped. He slowly sat back.

KEVIN (CONT'D)  
I imagine she was screaming when  
whoever did bury her like that.  
They would have had to in order to  
get the ants down there.

CATHERINE  
When did you last handle fire ants, Kevin?

KEVIN  
Months ago on the job.

Catherine smiles, leaning on the table.

CATHERINE  
But Mister Montrèsor, fire ants  
cause pustules when they inject  
venom. Those pustules disappear  
well within a month. Yours look  
only a few days old. In fact, Nick  
and yours have the same inflammation,  
same color -- his are only four days  
old. Yours can't be much more than that.

KEVIN  
YOU TRICKED ME! You knew that stuff  
about fire ants all along!

CATHERINE  
So you did bury her alive? To kill her?  
Because she was cheating on you?

KEVIN  
Yeah! She was a homo bitch!

Almost instantly Kevin realizes he has said too much. Brass smiles.

BRASS  
Oops!

Catherine smiles, collecting Nick's case file.

CATHERINE  
I'll enjoy sharing your information  
about fire ants in court, Mister  
Montrèsor. He's all yours, Jim.

Catherine leaves the room and places a call.

NICK (ON PHONE)  
Yeah?

CATHERINE  
We got him, Nick.

NICK (ON PHONE)  
Thank you.

CATHERINE  
Any time. So tomorrow we'll have  
our Nick back, not Mr. Hyde?

NICK (ON PHONE)  
Yeah. I'll see you tomorrow.

CATHERINE  
See you tomorrow, Nicky.

Catherine hangs up as he turns a corner.

INT. MCALLISTER HOUSE - DAY

Langston approaches the door and knocks. **MADI**, a black haired thirteen-year-old, and a black and white Border Collie run to the door. She grabs the dog's collar as she opens the door. Langston is carrying a folder in one hand. He smiles at Madi, but she doesn't return it. Langston pushes his coat back to show his badge.

LANGSTON  
Good morning, young lady. I'm Dr.  
Ray Langston, with the Las Vegas  
crime lab. May I speak with your father?

MADI  
He's busy. He doesn't like being  
disturbed in the morning.

LANGSTON  
This is important.

MADI  
Don't blame me if he ignores you.

Madi opens the door to let Langston in. Once the door is shut she lets the dog go and leads Langston through the house.

INT. MCALLISTER ATRIUM - DAY

The room has been converted into a wood workshop with vine plants covering the windows that gives the bright sunlight a green hue. **EGON** McAllister works at a lathe. He's tall, thin, mellow, and very blonde. Half finished furniture is scattered through the room. Madi sits in a rocking chair missing an arm.

MADI  
I like this one, Dad. Are you  
selling it?

EGON  
If you like it, we can keep it.

MADI  
Naw. We need the money. This is  
Doctor Langston, he's from the  
police in Las Vegas. He thinks  
you'll talk to him.

Egon chuckles, making Langston smile.

EGON  
Madi, are you practicing on  
strangers again?

Madi grins up at Langston, revealing her whole act was an ornery, childish ploy.

MADI  
I'm going to be an actress.

Langston smiles but quickly focuses on his investigation. He walks up to Egon, fishing out a photograph of Edith's license and setting it on the table.

LANGSTON  
Do you recognize this man?

EGON  
That's Edith Stuckley. He's been  
missing for a while.

LANGSTON  
How did you know him?

EGON  
He was the son of the man that sold  
my wife and me this house. He was a  
kleptomaniac, but aside from that,  
he was a good man.

LANGSTON  
Would he have stolen from you?

EGON  
Before we adopted Madi, I would  
have said yes, but after we adopted  
her, no. He would bring diapers,  
formula, toys.

Egon looks at Madi with a soft smile.

EGON (CONT'D)  
He'd always tell us that if he  
ever had a niece, he'd want  
one just like Madi. Edith would  
never have stolen from us.

Egon pulls the wood off and starts sanding.

LANGSTON  
You reported that your gold bullion  
coin collection was stolen the same  
week he disappeared.

EGON  
That's right. That was a blow for  
me. Why are you asking about the  
coins and Edith?

Langston pulls out photographs of the coins and lies them down one by one in front of Egon. As he does, Egon is more and more surprised. He glances as Madi. She has pocketknife that she's whittling a small block of wood with.

EGON (CONT'D)  
Madi, why don't you go feed  
Maverick and the chickens  
before the bus gets here?

MADI  
Okay.

She jumps up and trots out of the room. Egon looks back at Langston.

EGON  
Are these mine? Do the numbers match  
the ones I put in the report?

LANGSTON  
Yes.

EGON  
Where on earth did you find them?

LANGSTON  
Three days ago at the bottom of a  
well with the body of Edith Stuckley.

EGON  
How do you know it was him?

LANGSTON  
His preserved state allowed us to  
easily identify him.

EGON  
And he had my coins?

Langston nods. Egon picks up the photo, shaking his head.

EGON (CONT'D)  
I didn't listen to him. I was too drunk.

LANGSTON  
Listen to him?

EGON  
My life was going so well. Right  
after college I married my childhood  
sweetheart. We couldn't have kids,  
so we adopted Madi. The adoption  
was kind of strange because our attorney  
said she'd never seen an adoption  
go through so fast. Then Camarilla  
got sick and died, and I climbed  
into a bottle and stopped caring  
about the really important things.

**INT. MCALLISTER HOUSE - DAY (RE-ENACTMENT)**

**Egon sits at the table counting his coins -- a sickly image of Scrooge. Madi, then four years old, sits on the floor crying. She's filthy, her hair is a matted mess. Edith walks in. Madi reaches for him so he picks her up, discovering she's wet her pants. He walks over to Egon.**

**EDITH  
Egon, Madi needs changed.**

**EGON  
(indifferent)  
So change her.**

**Edith is furious with him. He swings a hand through Egon's coins, scattering them.**

**EDITH  
Madi needs you, Egon! Your damn  
gold doesn't!**

**Egon gets up, leaning into Edith.**

**EGON  
Get out of my house!**

**He tries to take Madi but Edith pulls back. He shakes his head.**

**EDITH  
You're going to lose everything  
real soon, Egon.**

**Edith grabs Madi's diaper bag from the back of a chair and heads for the door.**

**EGON  
Give me back my daughter!**

**Egon charges after him. He's so drunk he can hardly walk straight. Edith runs out of the house, jumps in his car and tears out down the road. Egon stands on the porch screaming at him.**

**EGON (CONT'D)  
BRING BACK MY DAUGHTER!**

**INT. MCALLISTER HOUSE - NIGHT**

**Egon's passed out on the couch. His coins sit in neat stacks on his desk. On the floor under his hand is a paper from the state telling him that Social Services has placed Madi in foster care until an investigation can be completed.**

**Edith comes in through the back door. He walks up to Egon, watching him. He looks at the coins, then pulls out a canvas bag. He puts all the coins into the bag, then puts in their place a drawing Madi did. Edith leaves with the coins.**

BACK TO SCENE

Egon sets the photograph down and picks up his wood, sanding it again. Langston takes in the story.

LANGSTON  
You never knew it was him?

Egon shakes his head.

EGON  
No. But he did what a good friend  
would do. He put her someplace  
safe, then took away those cursed  
things. You can keep them for all I  
care. God! Ed really was a good  
friend, wasn't he? I Never really  
understood that until now.

As Langston collects the photographs, he weighs the statements he's been given.

LANGSTON  
You may want the coins back, Mr.  
McAllister. I've heard acting  
lessons cost quite a bit.

Egon and Langston smile at each other.

EGON  
I never thought about that. But you take as long as you need. She has to  
fix the D in Social Studies before  
she gets to join the Drama Club.

LANGSTON  
I'll be in touch. I can show myself out.

Egon nods. Langston heads for the front door.

EXT. MCALLISTER HOUSE

Langston gets in his vehicle and sets the folder on the passenger seat. Next to the detached garage is a chicken coop.

He starts his vehicle but pauses to watch Madi scatter feed and laugh. He smiles and puts it in drive, heading down the road.

INT. CSI - BREAK ROOM - DAY

Greg lays on the couch tossing his stress ball against the ceiling. He is facing defeat. Henry and Nick walk past. Nick stops, turning back to watch Greg. Henry stops and watches. Nick walks into the break room, standing at the end of the couch.

NICK  
What are you still doing here?

Greg shrugs.

NICK (CONT'D)  
Greg, I'm sorry about snapping at  
your like I did. I wasn't myself.

Greg catches his ball and kneads it.

GREG  
I'm not mad at you. I get why you  
were acting all weird.

NICK  
Then what's wrong?

GREG  
Robbins gave up trying to get the  
tar off so I don't have a face, or  
fingerprints. No DNA matches. Nothing  
about the tar stood out, no leads,  
no suspects.

NICK  
What about the guy that rented the unit?

GREG  
The manager said he was dressed in  
a scary bunny costume and registered  
the unit under Donnie Darko.

NICK  
No leads on the name?

GREG  
It's the name of a character in a movie.

NICK  
You sure it wasn't really his name?

GREG  
Oh, I did a search, just in case,  
but no. No Donnie Darko in this  
city, or county, or state.

Nick nods, looking up when Henry comes to the door.

NICK  
Sometimes we lose, Greg. It happens.

GREG  
I don't wanna lose.

Greg takes his anger out on his ball.

NICK  
Sorry, man. Sometimes the criminals  
outwit us. Everyone's meeting at  
Frank's. Come on.

Greg shakes his head.

GREG  
I'm not hungry.

Nick saves the ball's life by taking it away

NICK  
I'm buying. It's the least I can do  
for acting like an ass all week.

Greg gets up and follows Nick and Henry.

INT. CSI - CORRIDOR

Nick turns, tossing his ball back.

NICK  
Be nice to your stress ball. It  
might save your life one day.

The three laugh at the joke.

FADE OUT.

THE END


End file.
